1. Resonance for Beginners Dr. Chuck Neufeld Lander University Dr. Chuck Neufeld Lander University

2. Components of Good Resonance Relaxed throat Space (length and width) in the vocal tract Focus of tone for high quality phonation Balance of dark and light quality of sound Relaxed throat Space (length and width) in the vocal tract Focus of tone for high quality phonation Balance of dark and light quality of sound

3. Relaxed Throat Start with good posture Eliminate tension from chest, shoulders, neck Be sure that singing does not initiate tightness in any way Relax muscles in and around the throat Constrictor muscles Other extralaryngeal muscles Start with good posture Eliminate tension from chest, shoulders, neck Be sure that singing does not initiate tightness in any way Relax muscles in and around the throat Constrictor muscles Other extralaryngeal muscles

4. Space Larynx in comfortably low position Arch the soft palette (use “surprise” breath) Close the soft palette Relax the tongue (low in back) as much as possible Larynx in comfortably low position Arch the soft palette (use “surprise” breath) Close the soft palette Relax the tongue (low in back) as much as possible

5. Focus the tone for high quality phonation Once space is created, the mouth and throat are like a big, dark cave Vocal tone is like a light that begins in the deepest part of the cave, but shines all the way forward to the mouth opening Once space is created, the mouth and throat are like a big, dark cave Vocal tone is like a light that begins in the deepest part of the cave, but shines all the way forward to the mouth opening

6. Balance of dark and light quality in sound As pitch rises Natural sound gets brighter Singers must artificially add darkness to maintain balance between dark and light As pitch falls Natural sound gets darker Singers must artificially add brightness to maintain balance between dark and light As pitch rises Natural sound gets brighter Singers must artificially add darkness to maintain balance between dark and light As pitch falls Natural sound gets darker Singers must artificially add brightness to maintain balance between dark and light

7. Resonance Faults What if I sound nasal when I sing? What if I sound nasal when I sing?

8. Nasal Resonance Faults There are Two Types of Excessive Nasality  Postnasality or Nasal Honk  Forced Nasality or Nasal Twang There are Two Types of Excessive Nasality  Postnasality or Nasal Honk  Forced Nasality or Nasal Twang

9. Nasal Resonance Faults  Postnasality or Nasal Honk  Nasal cavity is incorporated into the resonance system.  Nasal honk predominates the vocal tone.  This is also known as “true” nasal resonance.  Postnasality or Nasal Honk  Nasal cavity is incorporated into the resonance system.  Nasal honk predominates the vocal tone.  This is also known as “true” nasal resonance.

10. Nasal Resonance Faults  Forced Nasality, Nasal Twang, or “False” Nasality  More widely recognized as nasality.  Tight, pinched sound—appears to be centered in the nose.  Caused by constriction in the pharynx (throat).  Commonly heard in Country and Western and Bluegrass music.  Postnasality or Nasal Honk (“true” nasality) is typically not present in sound.  Forced Nasality, Nasal Twang, or “False” Nasality  More widely recognized as nasality.  Tight, pinched sound—appears to be centered in the nose.  Caused by constriction in the pharynx (throat).  Commonly heard in Country and Western and Bluegrass music.  Postnasality or Nasal Honk (“true” nasality) is typically not present in sound.

11. Nasal Resonance Faults What if I sound like my nose is stuffy when I sing?

12. Nasal Resonance Faults  Insufficient Nasal Resonance  Resulting sound is denasal.  Caused by physical condition that prevents normal formation of nasal consonants-- limiting nasal resonance  Speaking with a bad head cold is a typical example of this sound.  Can be caused by swollen adenoids, deviated septum, or polyps in the nose.  Insufficient Nasal Resonance  Resulting sound is denasal.  Caused by physical condition that prevents normal formation of nasal consonants-- limiting nasal resonance  Speaking with a bad head cold is a typical example of this sound.  Can be caused by swollen adenoids, deviated septum, or polyps in the nose.

13. Correcting Excessive Nasal Resonance Faults How can I correct these problems? (Too much nasality or insufficient nasality)

14. Correcting Excessive Nasal Resonance Faults  First, correctly diagnose the difference between “true” and false nasality  Hold the nose closed while singing on a vowel.  If sound changes significantly, then postnasality (“true” nasality) is probably involved.  If sound does not change, check for pharyngeal tension (use the yawn).  First, correctly diagnose the difference between “true” and false nasality  Hold the nose closed while singing on a vowel.  If sound changes significantly, then postnasality (“true” nasality) is probably involved.  If sound does not change, check for pharyngeal tension (use the yawn).

15. Correcting Excessive Nasal Resonance Faults  Correcting Postnasality or Nasal Honk  Adopt a new tonal model.  Direct tonal sensations to a new location (move tonal center to hard palate, not nose).  Exercise palatal muscles (hung-ah, and plosive consonants b-[b] and p-[p]).  Correcting Postnasality or Nasal Honk  Adopt a new tonal model.  Direct tonal sensations to a new location (move tonal center to hard palate, not nose).  Exercise palatal muscles (hung-ah, and plosive consonants b-[b] and p-[p]).

16. Correcting Excessive Nasal Resonance Faults  Correcting Nasal Twang  Begin by checking on posture, breathing, and support, since twang may be compensating for failure in another system.  Correcting Nasal Twang  Begin by checking on posture, breathing, and support, since twang may be compensating for failure in another system.

17. Correcting Excessive Nasal Resonance Faults  Correcting Nasal Twang  Three main goals  Eliminate unnecessary tension in the pharynx.  Develop a new tonal model.  Encourage the use of more oral space.  Direct tonal sensations to a new locale.  Correcting Nasal Twang  Three main goals  Eliminate unnecessary tension in the pharynx.  Develop a new tonal model.  Encourage the use of more oral space.  Direct tonal sensations to a new locale.

18. Correcting Insufficient Nasal Resonance Faults  Correcting Insufficient Nasality  Use humming exercises and vocalises centered on nasal consonants m-[m] and n- [n].  See a physician if issues persist over time.  Correcting Insufficient Nasality  Use humming exercises and vocalises centered on nasal consonants m-[m] and n- [n].  See a physician if issues persist over time.

19. Resonance Faults Start Here

20. Resonance Faults  Faults Related to Nasal Resonance  Excessive Nasality  Insufficient Nasal Resonance  Faults Related to Tone Color  Sounds that are too bright  Sounds that are too dark  Faults Related to Nasal Resonance  Excessive Nasality  Insufficient Nasal Resonance  Faults Related to Tone Color  Sounds that are too bright  Sounds that are too dark

21. Tone Color Faults  Sounds that are too bright (too white, too open, too forward)  Tends to emphasize mouth as resonator  Not enough throat resonance  Sounds that are too dark (too muffled, too swallowed, too covered, too far back)  Tends to emphasize throat resonance  Not enough mouth resonance  Sounds that are too bright (too white, too open, too forward)  Tends to emphasize mouth as resonator  Not enough throat resonance  Sounds that are too dark (too muffled, too swallowed, too covered, too far back)  Tends to emphasize throat resonance  Not enough mouth resonance

22. Tone Color Faults  Most voice teachers prefer balanced sound (although this is not unanimous)  Voice placement, focus, or projection is an illusion--not a scientific fact--yet, placement, focus, and projection are useful images for singers  Most voice teachers prefer balanced sound (although this is not unanimous)  Voice placement, focus, or projection is an illusion--not a scientific fact--yet, placement, focus, and projection are useful images for singers

23. Correcting Tone That Is Too Bright  Increase pharyngeal space (yawn, etc.)  Reduce tension in pharynx  Adopt a new tonal model  Deemphasize the mouth opening  Reduce tension in lips, tongue, jaw, palatal arches  Reduce hyperfunctional phonation, which is often associated with tone that is too bright.  Increase pharyngeal space (yawn, etc.)  Reduce tension in pharynx  Adopt a new tonal model  Deemphasize the mouth opening  Reduce tension in lips, tongue, jaw, palatal arches  Reduce hyperfunctional phonation, which is often associated with tone that is too bright.

24. Correcting Tone That Is Too Bright  Check posture, breathing, and support  Loosen up the body  Relax throat, neck, and articulators  Move sound more inside the body (“sing inside yourself”), further back, etc.  Imagine a deeper, richer, more dramatic sound  Use back vowels: ah-[a], oh-[o], and ooh-[u], preceded by b-[b], m-[m], or y-[j] to reduce tension.  Lower the larynx  Check posture, breathing, and support  Loosen up the body  Relax throat, neck, and articulators  Move sound more inside the body (“sing inside yourself”), further back, etc.  Imagine a deeper, richer, more dramatic sound  Use back vowels: ah-[a], oh-[o], and ooh-[u], preceded by b-[b], m-[m], or y-[j] to reduce tension.  Lower the larynx

25. Correcting Tone That Is Too Dark  Reduce overuse of “yawning” muscles.  Increase oral space.  Adopt a new tonal model.  Reduce flabbiness in pharyngeal walls.  Move tongue forward if necessary.  Reduce overuse of “yawning” muscles.  Increase oral space.  Adopt a new tonal model.  Reduce flabbiness in pharyngeal walls.  Move tongue forward if necessary.

26. Correcting Tone That Is Too Dark  Increase activity in articulators.  Check for breathiness in tone.  Make student aware of problem  Direct tonal sensations to new locale.  Raise larynx (if it is depressed) using tongue-out approach.  Use front vowels ee-[i], ih-[I], and ay-[e].  Increase activity in articulators.  Check for breathiness in tone.  Make student aware of problem  Direct tonal sensations to new locale.  Raise larynx (if it is depressed) using tongue-out approach.  Use front vowels ee-[i], ih-[I], and ay-[e].

27. Resonance for Beginners Dr. Chuck Neufeld Lander University Dr. Chuck Neufeld Lander University